Natalya V, ACL Reconstruction for Ballet Dancer
We've had their privilege to care for world-class ballet dancers who unfortunately sometimes land from a jump in an awkward position rupturing their knee joint ACL.
I am a ballet dancer and an instructor and I tore my ACL. Unfortunately during one of the practices in the past.
This was a devastating injury for the ballet dancer, a loss of motion, lots of pain, long recovery program.
I was scheduled to have a surgery using my own hamstring. I just didn't feel like I was comfortable using my hamstring. I came across Dr. Stone's clinic and then I really liked their approach and I liked the fact that they will use a donor tissue to reconstruct my ACL and I liked all the advanced methods. We're able to repair the ACL or reconstruct the ACL using donor tissue immediately after the injury and have the ballet dancers see their line in the recovery room immediately. Gaining their full range of motion. Physical therapy is very important and I feel like those people are just doing a great job. And I would have liked the most is that they would push me more than I think I can be pushed. And I am very pushy.
The care of the ballet dancer has changed dramatically over the last few years, so that these world-class, beautiful dancers, artists, athletes, can return to their art form as soon as possible after what used to be a devastating knee. I am just very, very happy that I came here and I feel very lucky.
Natalya V. Profile
Ballet dancer patient, Natalya tore her ACL during a rehearsal. She did not want to use her hamstring to repair her ACL. She came to The Stone Clinic where Dr. Stone reconstructed the injury using donor bone-patellar tendon-bone tissue.
Dancers cannot afford to lose a portion of their patella tendon or their hamstrings. So, when the ACL is completely ruptured, Dr. Stone reconstructs it with a donor bone-patellar tendon-bone graft, often pre-loaded with the patient’s own growth factors stem cells. During surgery, the graft is placed so as to permit the knee to extend equally to the opposite knee—which, for many dancers, actually means hyperextension. Traditional graft placements often did not allow this extra motion. Without it, though, the dancer would never be the same.